2236 – Magic and Science with Erik Davis on New Thinking Allowed (2023)

In order to get over the biographical and personal – I must confess that having Erik Davis as an untiring and generous guide through High Weirdness, esoterica, (techno)occulture, psychedelia, Californian counterculture, Cyberdellia, the 1970s – has helped me get around my late 80s Golden Bough or the 1990s brush with Noua Acropola (Theosophy), Mircea Eliade’s books on shamanism, or his Treaty on the History of Religions and Gilbert Durand’s Les Structures anthropologiques de l’imaginaire, both published by Humanitas. I was never sure if I would ever be interested in that influx of paranormal and esoterica or how to qualify it. Interestingly on the continuum of the physical-mental pole (as Whitehead would say) – there was rationalism, Darwinism, and atheism through the thinking of Daniel Dennett, Richard Dawkins (yes!), Edward O. Wilson, Jared Diamond (more lastingly than the others) – Stephen Jay Gould. It has not been a tug of war, or a contest although ultimately the political stakes have been more important – the way conspirituality and post-truth has taken over and divided societies or the way the New Atheists have been somehow preparing the MRM or alt-right is part of this history. Rationality and anti-rationality have been always contested grounds – and recent text by John Bellamy Foster: the New Irrationalism IHMHO I can agree with in general, but at the same time cannot get over the feeling that it builds the same strawmen arguments as those hurled at so-called “cultural marxism” by the right-wingers. Another argument I have with John Bellamy Foster’s recent text is my doubt that pessimism and existential nihilism could be a catchall for what ails the current moment – while we could very well admit that untrammeled irrational (US-birthed) “positive thinking” made our situation direr than ever.

Never thought these two tendencies relevant, trying to see how they square off. How the unreason of witch-hunting atheism might end up locked in battle with some kind of spiritualist nativist revival, while it might have more in common with transphobic cishet religiosity. On my side it would be foolish to deny the importance of this background radiation (and I have at least been acknowledging this during a beer rant with a good friend in Timisoara). At the same time, I wish Erik Davis would have been there too. Even if I don’t find his interest in life after death, techno gnosticism, spiritualism, or astrology – as exciting as he does, I still think it important to keep track of conspiracies, dualism, of discarded beliefs at a time of scientific triumphalism, or revisit our metaphysical presuppositions, keep learning from the “sociology of science” when one discusses the most recent Silicon Valley fads (simulation theory) or crypto NFT based longevity seeking tech. I also appreciate his critical sensibility – the way he’s decrying the ideological fervor of Wikipedia editors, while at the same time recognizing how religious traditionalistic values are becoming untied from organized religion to weaponize the new right consensus that is quite irreligious. I also think he is bringing a more culturally aware understanding and historicity to a generally ahistorical scientific culture, finding plurality at paradigmatic turning points (such as Kepler’s indulgence with Plantonic forms) or recognition for the role fringe culture played as visionary avant-garde popularizing goofy, previously minoritarian views or mad ideas, that in the meantime have become quite accepted, bland and easily embraced by the ‘normies’.

It is really telling indeed that Bell’s Theorem (the three experimental tests of Bell’s inequalities) – and indeed how quantum entanglement and quantum information theory ceased to be SF. FTL has been abandoned, no magical spooky action at a distance – but strong correlations have has domesticated entanglement, making it less spectacular (that is the role of science!) and has been applied in cryptography and communication – areas where non-locality helped out. What Davis make clear that would have sounded like heresy or lacking any respectability 20 or 30 years ago (say panpsychism )- has garnered the right of being debatable and even scientifically probable, radiating in as many flavors and combinations. The same has happened with the spillover from the SF nerd/geek ghetto into the larger oceans of mass culture making some fairly undigestible and outlandish ideas gain traction, just because big-screen SF popularized them, got them across under the pen of atheist authors (and VC funding!), making them palatable to a less and less religious world.

With this philosophical and even newly earned scientific respectability, there comes a time to recognize the way (Erik D is good at this!) Consciousness Culture has been doing much of the groundwork for this slow acceptance of the neurodivergent and non-human minds. Ultimately I like Davis’s attraction for “naturalism” in all matters. For me any type of naturalism (or multinaturalism) is quite healthy and goes a long way, from (even non-Western) pre-scientific thinking, including forgotten philosophical inquiries by the German idealists and the experimentalism of Naturphilosophy (Schelling, Hegel, Fichte etc) to today’s speculative realists. I also appreciate all these discussion that circumvent the usual post-digital or cyber studies pitfalls or full automation fears about robotics and focus instead on how robotic one is AFTER mindful de-programming, or how mechanistic and bureaucratic some of the gaming experiences truly are as one keeps playing, or how even after awakening (or joining a cult!) one starts acting ever more routinized, almost like a remote “observer” exhibiting a more robotic self than ever before. In one word – highly recommended for a weekend hearing!

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Beauty makes the world go roundBeauty makes the world go roundAmen

2199 – The Lord of the Rings: The Rings of Power (TV Series 2022–)

spacetime coordinates: the Second Age of Middle-earth, thousands of years before Tolkien’s The Hobbit and The Lord of the Rings

The Lord of the Rings: The Rings of Power is an American fantasy television series developed by J. D. Payne and Patrick McKay for Amazon Prime Video. Based on the novel The Lord of the Rings and its appendices by J. R. R. Tolkien.

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Design

It was Jackson’s understanding in December 2018 that the series would be set in the same continuity as the films and Amazon wanted to be consistent with the designs that were created for them, which illustrator and concept artist John Howe reiterated in August 2019, saying the showrunners were determined to remain faithful to the designs of the film trilogies. Payne and McKay later clarified that the series is not a direct continuation of the films, per Amazon’s deal for the series, but they did not want it to “clash” with the films and tried to have similar designs. They took advantage of Howe’s experience working on Jackson’s adaptations, as well as that of costume designer Kate Hawley who worked on the Hobbit films. Other influences included the 1977 animated television adaptation of The Hobbit by Rankin/Bass.

Howe had filled 40 sketchbooks with drawings for the project by May 2022, and said the biggest difference between the films and series was the latter visited new locations, such as the oceans of Middle-earth. Avery’s biggest challenge was making Middle-earth feel both familiar and new. He chose to build as many practical sets as possible, wanting the series to “feel real and honest… to make sure that the actors had a world that felt inhabitable”. Payne said being on set “was like going to Middle-earth every day for work”. Avery used different styles for each location, such as Lindon’s “tree-like columns” which were inspired by Gothic architecture. He added “arboreal details” to reflect the Elves’ love of nature. Khazad-dûm was designed to be “less severe” than the film version, using a “sensitivity toward the stone” rather than “harsh lines and gargantuan statues” to show the kingdom before the Dwarves “got greedy”. Avery compared the large wheels on the Harfoot wagons to the round Hobbit doors seen in the films.

Payne, McKay, and Avery put a lot of focus on Númenor, which Payne explained was because “it’s never been seen before. People have some ideas of what Elves look like or what Dwarves look like and what those kingdoms might look like. But Númenor was, in some ways, a blank canvas.” They planned out the entire city, and made sure that this reflected Tolkien’s description of it originally having Elvish influences but becoming more “Mannish” as it was developed. Tolkien also compared the city to Venice, so Avery took inspiration from that city and its connection to water. He used the color blue in a lot of the city’s locations to emphasize the culture’s relationship with water and sailing. Númenor’s “looming marble structures” and “bold shapes, rich colors, and geometrical ornament[s]” were inspired by Ancient GreeceAncient Egypt, and the rest of North Africa and the Middle East. The distinct shape of the sails on Númenórean ships were based on the ceremonial headwear worn by Gondorian kings, the descendants of Númenóreans, in the Third Age. Avery worked with experts to ensure the ships were still functional with the unique sails. The main Númenor set was almost 300,000 square feet (28,000 m2) and was described as “an entire seaside city” with buildings, alleyways, shrines, graffiti, and a ship docked at the harbor inside a large water tank. There were additional sets for specific locations within the city. The sets were built with a lot of real materials that were cheaper to source in New Zealand than the “movie fakery typically used to save time and money on sets in Los Angeles”. Avery’s team also created a form of Roman concrete using seashells that they used in the alleyways to show some of the history of the city. To further help immerse the actors, Avery used real plants, fruits, and incense on set so the “smells were right”. Yip described the Númenor sets as “breathtaking… we were there for weeks, but every day I’d notice a new detail”.

Jamie Wilson was the head of prosthetics for the series after previously working on the film trilogies. He noted that there had been advancements in the technology available since the films were produced, including encapsulated silicone that looks much more like real skin than previous techniques. The prosthetics team also worked closely with the series’s visual effects department for digital “tweaks” to the prosthetics. The showrunners were particularly interested in the series’s depiction of Orcs and ensuring that practical effects were used where possible. Wilson explained that the Orcs in the series were intended to be “younger”-looking than those in the films, since these groups are just emerging from hiding. Because of this, the series’s Orcs feature less battle-scars than those in the films and are also lighter-skinned with some skin conditions caused by new exposure to the sun. (wiki)

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2191 – Black Adam (2022)

spacetime coordinates: present day Kahndaq (the Middle Eastern region of Africa, located between Egypt and Jordan)

Black Adam is a 2022 American superhero film starring Dwayne Johnson as the titular DC Comics character. The film is related to Shazam! (2019) and the eleventh film in the DC Extended Universe (DCEU). (wiki)

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2171 – Vesper (2022)

After the collapse of Earth’s ecosystem, Vesper, a 13-year-old girl struggling to survive with her Father, must use her wits, strength, and bio-hacking abilities to fight for the future. (rottentomatoes)

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Directors: Kristina Buozyte & Bruno Samper Starring: Raffiella Chapman, Rosy McEwen, Eddie Marsan, Richard Brake & Edmund Dehn. feat Melanie Gaydos. (Lithuania / France / Belgium coproduction)

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2170

spacetime coordinates: 1890 – 1891 London / Paris / Switzerland

Sherlock Holmes (2009)

Sherlock Holmes is a 2009 period mystery action film based on the character of the same name created by Sir Arthur Conan Doyle. The film was directed by Guy Ritchie. Robert Downey Jr. and Jude Law portray Sherlock Holmes and Dr. John Watson, respectively.

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Eccentric detective Holmes and his companion Watson are hired by a secret society to foil a mysticist’s plot to gain control of Britain by seemingly supernatural means. Rachel McAdams stars as their former adversary Irene Adler and Mark Strong portrays villain Lord Henry Blackwood.


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Sherlock Holmes: A Game of Shadows (2011)

Sherlock Holmes: A Game of Shadows is a 2011 period mystery action film directed by Guy Ritchie. It is the sequel to the 2009 film Sherlock Holmes. Robert Downey Jr. and Jude Law reprised their roles as Holmes and Watson, respectively, alongside Noomi Rapace as Simza, Stephen Fry as Mycroft HolmesJared Harris as Professor Moriarty, and Rachel McAdams as Irene Adler. Although the film follows an original premise, it incorporates more closely elements of Conan Doyle’s short stories, including “The Final Problem” (1893) and “The Adventure of the Empty House” (1903). In the film, Holmes and Watson travel across Europe with a Romani adventuress to foil an intricate plot by their cunning nemesis, Professor Moriarty, to instigate a major European conflict.

2009 – imdb   /   wiki   ///   2011 – imdb   /   wiki

Sequel   ///   Franchise

2162 – Three Thousand Years of Longing (2022)

spacetime coordinates: present day IstanbulLondon >> 10th century BC ancient Israel / kingdom of Saba, 16th – 17th century, mid-19th Century Ottoman Empire.

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Three Thousand Years of Longing is a 2022 fantasy romantic drama film directed by George Miller and starring Tilda Swinton and Idris Elba. Miller wrote the screenplay with Augusta Gore, adapting the 1994 short story “The Djinn in the Nightingale’s Eye” by A. S. Byatt. Elba stars as a djinn who is freed by a professor (Swinton) and recounts his life to her. (wiki)

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